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Public Art on Campus Policy

Public Art on Campus Policy


To establish a consistent process for the acquisition, review, placement, and deaccessioning of public art on the University of Dayton campus.


This policy applies to all decisions regarding public art in the public space of the University campus. This policy does not apply over works of art, photographs, etc. that faculty and staff place within their offices or that departments install in their offices or teaching spaces.

Policy History

I. Effective Date:  April 19, 2019

II. Approval:  April 19, 2019

III. History: 

  • Approved in its original form:  April 19, 2019

IV. Maintenance of Policy:  Vice President for Facilities Management


(a) Public Art – Public art at the University is defined as installations of permanent or temporary art in common spaces on the University campus such as all outdoor campus space and interior common spaces such as lobbies, shared or community indoor spaces, entryways and atria, etc. For purposes of this Policy, the terms “public” or “common spaces” do not convert any spaces of the University into a public space generally open to and accessible to the public.

(b) Permanent Art – art is considered permanent if it is installed with no anticipated time limit or duration.


In accordance with its educational mission, the University of Dayton seeks to provide a rich and meaningful campus environment. The University of Dayton recognizes that public art is unique because it functions within a certain location, is made in accord with a variety of intentions, and serves to generate engagement in and with the public sphere. Public art can express community values, enhance our environment, transform a landscape, heighten awareness of our circumstances or environment, and question our assumptions.

All public art must be reviewed by the Public Art Review Committee (PARC) and approved by the President. In its discussions and deliberations, PARC considers the Catholic, Marianist identity and mission of the University, the University’s strategic directions, the programmatic context of the project, and the surrounding environment.  While understanding that art is always subject to a variety of aesthetic purposes and interpretations, PARC encourages campus partners to strive for the highest professional quality of art that will stand the test of time, enhancing the overall quality of our campus.  Additionally, PARC is mindful of the importance of both artist and artistic diversity across the full range of public art at the University as it relates to the University’s commitment to foster intercultural inclusiveness and a welcoming environment promoting respect, learning, and dialogue.

Reference Documents

  1. Appendix A:  Public Art Review Committee Guidelines


Appendix A: Public Art Review Committee Guidelines

Committee Composition  

Members of PARC are appointed by the President and include 10-15 members of the University community, comprising of faculty, administrators, staff, and/or students.  The Chair or Co-chairs of the committee will be appointed by the President.  Membership should also include an Associate Provost, a vowed Marianist, a representative from Advancement, a faculty member selected through the UNRC process, someone who oversees a space or building that falls under the purview of the PARC, and a student representative (preference to students majoring in Art and Design). Ex Officio members include the Vice President for Marketing and Communication, the Dean of Libraries, the Vice President for Facilities Management and Planning and the Chair of the Department of Art & Design. For the members who are not ex officio, the term of appointment shall be three years, with the option to renew. The student representative will serve for one year with the possibility for renewal.  For a complete list of current members, visit the PARC website. All committee members have voting rights.

PARC Responsibilities

   1.  Ensures the existence of an inventory of public art across campus.

   2.  Serves as a guide to students, faculty, staff, alumni, donors, members of the public, and artists who seek to install works of public art on campus.

   3.  Receives and reviews proposals for public art and provides recommendations to the President regarding approval, suggestions for modification, or rejection of the proposed public art, or its site location. Seeks input and communicates with stakeholders regarding the acquisition and placement, which includes engaging artists and facilities managers to ensure that the installation is appropriate, safe and secure for audiences and is feasible with regards to installation and maintenance, and that appropriate and reasonable measures are taken to maintain the integrity of the work.

   4.  Works with stakeholders to arrange for any appropriate signage providing attribution to the artist.

   5.  Proactively identifies specific site location opportunities, including both indoor and outdoor common spaces, for the placement of public art, ensuring that such areas align with the University’s mission and PARC criteria. [hyperlink to map document here]

   6.  When necessary, reviews existing installations of public art acquired through donations, solicitations, purchases, and loans, to ensure public safety and proper maintenance.  In this regard, reviews and makes recommendations for the relocation, deaccessioning, or removal of a work of art in accordance with guidelines set forth under the Visual Artists Rights Act of 1990 (VARA Act).

When necessary, PARC may consult with members of the University community, including the Vice President for Mission and Rector, the Provost, and the Vice President for Finance and Administrative Services, before making a recommendation to the President. Final decisions on all matters rest with the President, at the President’s sole discretion, and are subject to review by the Board of Trustees.

   1.  Temporary exhibits:  Temporary exhibits are defined as installations of public art lasting from one day to three months. These exhibits may be undertaken by individuals, groups, or departments of the University.  Such exhibits have the potential to offer both logistical and technical challenges, particularly in their impact on facility issues, landscaping, hardscaping, and pedestrian traffic.  Because of these potential impacts, Facilities Management and Planning must be consulted as to where and how temporary exhibits are displayed.

Requests for installation of temporary exhibits of public art can be made by completing the online Facilities Management Work Request.  The work request should be submitted at least one month prior to the planned date of the installation to allow proper time for vetting.  The link for the online request can be found on the Facilities Management home page (  The Vice President of Facilities Management and Planning (FM) will review the work request for safety compliance and if deemed safe, communicate with the building contact to secure final installation approval.  FM will communicate the final decision to the requestor. A list of campus buildings and the contact person or persons for each building is located on the PARC website.

   2.  Permanent exhibits: The PARC committee chair places the request on the Committee’s upcoming agenda and review is conducted using PARC criteria for selection, noted below.

Criteria for Selection of Permanent Art in Common Places:

A.  Artistic Merit Consideration – does the public art deliver values that might include:

     1.  Enhancing the physical and aesthetic environment of the University.

     2.  Enriching the cultural, intellectual, and scholarly life of the University.

     3.  Inspiring contemplation, reflection, and dialogue.

     4.  Preserving and acknowledging the University’s history, heritage and culture.

B.  Physical Plant Considerations – does the public art accord with physical location:

     1.  Location, installation and artwork avoids safety or health risks.

     2.  Work dimensions, materials, surfaces are suitable location for exterior and interior location.

     3.  On-going maintenance requirements and needs can be met by University.

C.  Constituent Input – do the values of the public art accord with community stakeholders.

     1.  Students and parents.

     2.  Faculty, staff, and administrators.

     3.  Donors and alumni.

     4.  Community and policymakers.

Process for acquisition of new public works of art.

In the event of acquisition of new public works of art, it is advised that a purchasing selection committee with at least three members be established to identify funding, establish clear criteria, and review proposals. After completing their process of proposal selection, the purchasing selection committee will contact PARC for proper vetting of their proposal.

1.  Direct purchase from living or deceased artist. A living artist submits to the purchasing selection committee an appropriate number of images of works; a completed PARC proposal form containing information on the artist's name, address, title of work, dimensions, medium, price, current location, and installation instructions; resume, artist statement, and references from similar projects regarding the creation and installation of public art. If the artist is deceased, the purchasing group works with the artist’s estate or representative to present an appropriate number of images of the artist's work, a biographical sketch and resume, and information on the current location, cost of the work and installation instructions to the ad hoc committee.

2.  Open competition. Purchasers provide scope, description, budget, and schedule as well as installation timeline to PARC. Artists submit the PARC proposal form in response to a Call for Artwork which should include resume and list of works, images of their works of art, a statement of conceptual approach to the project or an artist's statement, and a reference from a similar project regarding the creation and installation of public art.

3.  Limited competition. Purchasers provide scope, description, budget, and schedule as well as installation timeline. The purchasing selection committee may invite a limited number of selected artists to compete. Invited artists submit the PARC proposal form and a resume, a list of works, images of their works of art, a statement of conceptual approach to the project or artist's statement, and a reference from a similar project regarding the creation and installation of public art.

Selection Procedure for open and limited competitions

Within sixty (60) days, the purchasing selection committee reviews all proposals and selects a minimum of 3 finalists. Finalists are compensated by funding secured by the purchasing selection committee for creating specific proposals and completion of the PARC proposal form. Proposals are presented in person in open forums which include members of the purchasing selection committee and PARC. The purchasing selection committee (PSC) makes their recommendation and submits it to PARC, and, upon recommendation of the PARC, it is submitted to the President for the final selection.

Process for works acquired through philanthropy

In addition to completing a PARC proposal, any piece acquired through philanthropy requires a fully executed gift agreement through Advancement.

Process for works of art on loan

For works on loan, in addition to completing a PARC proposal, the loan agreement or contract must be reviewed by the Office of Legal Affairs and the Office of Risk Management and then signed by a University official with proper authority to sign such an agreement.
University Public Art Inventory

A collaboration of University Facilities, the University Archives, and Risk Management facilitates maintenance of the University Public Art Inventory, a shared database.  The University Archives serves as holder of the University Public Art Inventory (Inventory).   The Inventory will include the following information as it becomes available:

     1.  Object accession number and date of accession

     2.  Artist, title, date created, medium, size of object

     3.  Location

     4.  Condition and description of object

     5.  Name/Address of source of accessioned object

     6.  Date of Accession

     7.  Name/Address of new owner

     8.  Sale price or exchange value

     9.  Any limiting condition agreed to at time of accession, reasons for conditions

    10.  Insured value

    11.  Estimated market value per appraisal

    12.  Photograph of object

Deaccession, Removal or Relocation of Public Art:

The University retains the right to sell works of public art in its collection, but acknowledges that artwork is often viewed by communities as part of the institution’s cultural capital. In light of this, the University will provide information to, and a report for, the University community about any potential deaccessioning. PARC will be responsible for creating this report, documenting the reason for deaccessioning, the method, and the condition report as noted below. This report will go to the President for decision and approval.

Public art may be relocated or removed at the sole discretion of the University or by recommendations of PARC in the following circumstances:

     1.  The artwork is incompatible with the mission of the University.

     2.  The artwork has an erroneous attribution or is found to be inauthentic.

     3.  The artwork is inferior to or near a duplication of other artwork in the collection.

     4.  The artwork is in poor condition and restoration is impractical or impossible.

     5.  The artwork endangers public safety.

     6.  The artwork requires excessive maintenance.

     7.  Significant and or substantial changes have occurred in the pattern of use, community, character or design of the environment where the public artwork is located.

     8.  The artwork location is to be redeveloped or demolished and it is not possible to incorporate the art into the redevelopment without compromising the integrity of the art or incurring excessive costs.

     9.  For site-specific artwork, the site has been altered and the art cannot be re-sited.

    10.  A third party has demonstrated the artwork to be stolen property, cultural or otherwise.

    11.  Any other circumstance(s) that is deemed appropriate by the President or PARC.

 Deaccessioning of Public Art will result in one of the following

     1.  The artwork will be offered back to the original donor or donors.

     2.  The artwork will be offered to another organization with academic and/or cultural non-profit institutions given first priority, preferably for public display.

     3.  The University will decide the relevant source (the artist or the estate of the artist) of the artwork. The relevant source will be offered the right of first refusal to purchase the artwork at fair market value.

          a.  If the artwork is sold, during the deaccessioning process, the funds will flow into a new acquisitions and conservation fund. Examples include auction, exchange with other non-profits, or outright sale.

          b.  PARC will organize communication with Advancement for charitable donations to ensure that IRS regulations are followed.

Deaccessioning records

PARC is responsible for preparing documentation for object(s) to be proposed for deaccession with all the available details including:

     1.  Date of recommendation for deaccession

     1.  Object accession number

     3.  Artist, title, medium, size of object

     4.  Condition and description of object

     5.  Name/Address of source of accessioned object

     6.  Date of accession and deaccession

     7.  Name/Address of new owner

     8.  Sale price or exchange value

     9.  Any limiting condition agreed to at the time of accession and the reason(s) for those conditions

    10.  Insured value – if available

    11.  Estimated market value per appraisal – if available

    12.  Proposed method of deaccession

    13.  Photograph of object


Funding for acquisition, installation and maintenance of art.

Stewardship for existing works of public art and for all new acquired works of art is an integral part of the purview of PARC.  In this regard, PARC will consider the durability, maintainability and cost of the piece of art prior to acceptance.  A funding source must be identified to cover such costs.  This requirement is especially critical when speaking of the art being displayed out of doors, due to weather related concerns and the possibility of vandalism.  If funding is not available, this criterion may be waived in certain circumstances by the President.  In any case, the approximate costs of acquisition, installation and maintenance must be determined prior to presenting a recommendation to the President.

For consideration, acquired public art must have a life expectancy of 20 years or more with a funding source to cover: cost of acquisition (if any); purchase (if appropriate); shipping; installation; wall-to-wall insurance; appraisal and maintenance.  Facilities will approve the methods for installing, re-siting and maintaining exterior public works of art and will maintain exterior public art, providing optimum storage and exhibition environments and regular cleanings as required.  This requirement might entail seeking external consultation. If such consultation is required, those costs must be included in the funding source.


For questions relating to the University policies of Facilities Management and Planning, please contact:

Rick Krysiak, Vice President for Facilities Management and Planning